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The Cleveland Museum of Art Members Magazine July/August 2019

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Cleveland Art: The Cleveland Museum of Art Members Magazine Vol. 59 no. 4, July/August 2019 (ISSN 1554-2254). Published bimonthly by the Cleveland Museum of Art, 11150 East Boulevard, Cleveland, Ohio 44106-1797.

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Magazine Staff Managing editor: Gregory M. Donley

Editing: Sheri Walter and Kathleen Mills

Education listings: Jennifer Bochik

Performing arts, music, and film: Michael McKay

Gallery game: Vessela Kouzova

Design: Gregory M. Donley

CMA collection photography: Howard T. Agriesti, David Brichford, and Gary Kirchenbauer Editorial photography as noted

Production help: Michele Bono Balcells

Printed in Cleveland by Great Lakes Integrated

Questions? Comments? magazine@clevelandart.org

IN THIS ISSUE

Emeka Ogboh The Nigerian art-ist’s site-specific installation is a first for the Ames Family Atrium.

Feel That Affinity Groups focus on many areas of artistic interest.

Sonic Blossom Lee Mingwei’s vocal music piece, presented in collaboration with moCa.

Medieval Monsters Frightful illuminated manuscripts from the Morgan Library & Museum.

ArtLens Exhibition A new rota-tion encourages deeper explora-tion of the museum collection.

Indian Romance See a recent acquisition in the galleries of Indian and Southeast Asian art.

From the Archives How those Swedish Modern textiles got here.

Philanthropy News Supporter profiles, news, and event photos.

Education A wealth of programs with a summery flavor.

Film Three Fassbinder classics head up more than a dozen movies.

Exhibitions What’s now on view.

New in the Galleries Korean literati art.

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Dear Members,

Medieval Monsters, opening July 7, features about 60 sumptuous illuminat-ed manuscripts from the collection of the Morgan Library & Museum in New York, as well as a number of major works from our own celebrated holdings of medieval art. While daily life certainly offered its share of real frights, the creatures depicted here are imaginary beings that embody intangible anxi-eties around religion, death, and the “other.” Stephen Fliegel—who recently retired as the CMA’s curator of medieval art—has written a thorough and engaging article about the exhibition, beginning on page 5.

Emeka Ogboh’s Ámà: The Gathering Place, officially on view starting in early August, is the first commissioned installation created especially for the Ames Family Atrium. The artist’s concept echoes that of architect Rafael Viñoly, who envisioned the atrium not only as a home base for navigating the galleries, but also as a communal social space. Ogboh’s monumental sculptural tree evokes the role such a tree would play at the center of village life in his native Nigeria, as a focal point and gathering place for the community. The artist speaks on Saturday, August 3, in a conversation with curators Emily Liebert and Smooth Nzewi, and you can also hear him spin a DJ set during the previous night’s Afropop-themed MIX party.

The completion of ever more exterior landscaping around the museum pro-vides the opportunity to offer some outdoor programs, and we’re doing that with a new series of landscape tours (and printed guide), a July engagement of the Studio Go van on our south lawn, and even a movie screened outdoors on East Bell Commons: Sky Ladder, about Chinese-born artist Cai Guo-Qiang, creator of Cuyahoga River Lightning, now on view in the Julia and Larry Pollock Focus Gallery.

Enjoy these offerings and more this summer at the Cleveland Museum of Art. We look forward to seeing you here.

Sincerely,

William M. Griswold Director

FROM THE DIRECTOR

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A River to Burn Cai Guo-Qiang replicates the winding course of Cleveland’s “crook-ed river” while preparing his large gunpowder-ignited drawing Cuyahoga River Lightning. © Cai Studio. Photo: Courtesy of Cai Studio

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Stephen N. Fliegel

Retired Robert P. Bergman

Curator of Medieval Art

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Medieval Monsters: Terrors, Aliens, Wonders Jul 7–Oct 6, Kelvin and Eleanor Smith Foun-dation Exhibition Gallery. Mon-sters captivated the imaginations of medieval men and women, just as they continue to fascinate us. Drawing on the Morgan Library & Museum’s superb collection of illuminated manuscripts, this exhibition—the first of its kind in North America—explores the complex social role of monsters in the Middle Ages.Organized by the Morgan Library & Museum, New York

Supporting Sponsor The Womens Council of the Cleveland Museum of Art

Ámà: The Gathering Place Aug 2–Nov 24, Ames Family Atrium. In this newly commissioned in-stallation created for the atrium, Emeka Ogboh integrates sound, sculpture, and textiles that evoke a traditional Igbo (Nigerian) set-ting and reimagines those ele-ments through a contemporary global lens.Presenting Sponsor Sandy and Sally Cutler Strategic Opportunities Fund

Color and Comfort: Swedish Modern Design Through Feb 9, 2020, Arlene M. and Arthur S. Holden Textile Gallery (234). The bold, colorful patterning of the 1920s, the nostalgia for Swedish cultural heritage during the 1930s, and the sparse lines of abstraction from the 1950s to the ’60s come together in this exhibition, revealing a particularly Swedish sensibility in modern design.Supporting Sponsor Mrs. David Seidenfeld

Lee Mingwei: Sonic Blossom Fri/Jul 12, 19, 26, 4:00–8:00; Sat/Jul 13, 20, 27, 12:00–4:00; Sun/Jul 14, 21, 28, 12:00–4:00, Reinberg-er Gallery (212). Sonic Blossom (2013), an interactive perfor-mance, imparts the gift of song to museum visitors by a vocalist from the Cleveland Institute of Music.Presented in partnership with moCa Cleveland and the Cleveland Institute of Music

Courtesy of the artist

EXHIBITIONS

Every culture and civilization throughout history, including our own, has its monsters. The origins of medieval monsters often derived from ancient writers like Pliny the Elder (AD 23–79), who wrote of strange creatures and races of humans living on the outer margins of the known world. Medieval authors appropriated and adapted these images, while philosopher Saint Augustine referenced their existence and medieval theologians taught that they were part of God’s divine plan.

Medieval artists possessed an encyclopedic knowledge of such creatures, some of which may still be familiar to us, namely dragons, harpies, griffins, basilisks, and sirens. These also included monsters now largely forgotten, alien, and unknown: cyno-cephali, dogheaded men; sciapods, creatures with one giant foot; blemmyes, headless men with their faces in their chests; and panotii, creatures with gi-ant ears. Monsters are ever-present in medieval art,

even perching atop stone capitals of Romanesque cloisters or lurking within sculpted portals of Gothic

cathedrals. Appearing across media—in sculpture, metalwork, ivory, and tex-tiles—they are especially evident within the margins and miniatures of illumi-nated medieval manuscripts.

Organized by the Morgan Library & Museum, the groundbreaking exhibition Medieval Monsters in-vestigates this subject for the first time, through the pages of some 60 illuminated manuscripts from the Morgan’s renowned collection. The manuscripts, covering devotional, liturgical, and secular func-tions, date from the 800s to the late 1500s. Some of these sumptuously decorated works were illuminat-ed by notable artists, such as Jean Poyer and Simon Bening, or belonged to well-known patrons, includ-ing Henry VIII of England, Anne of Brittany, Yolande de Soissons, and Catherine of Cleves. Exploring the complex social role of monsters in the Middle Ages,

EXHIBITION

Medieval MonstersDragons and demons and giants, oh my

A Lasting Impression: Gifts of the Print Club of Cleveland Through Sep 22, James and Hanna Bartlett Prints and Draw-ings Gallery (101). Organized in celebration of the centennial of the Print Club of Cleveland, this exhibition presents a selection of significant prints generously donated to the museum by the club over the past 100 years.Major Sponsor

Cai Guo-Qiang: Cuyahoga River Lightning Through Sep 22, Julia and Larry Pollock Focus Gallery (010). This exhibition features three monumental gunpowder works by Chinese-born artist Cai Guo-Qiang, known for his explo-sion events, gunpowder-ignited paintings, and installations, all using environmentally friendly materials. The exhibition borrows its title from the work Cuyahoga River Lightning: Drawing for the Cleveland Museum of Art, which was created especially for this show.Presenting Sponsor Julie and Peter Raskind

Water: Edward Burtynsky Through Sep 22, Mark Schwartz and Bettina Katz Photography Gallery (230). Monumental color photographs by Canadian art-ist Edward Burtynsky present a global portrait of humanity’s increasingly stressed relationship with water. These hauntingly beautiful images encourage us to ponder whether our current water-management strategies are among humankind’s great achievements or its most dan-gerous failures.Organized by the New Orleans Museum of Art

ABOVE Salinas #2, Cádiz, Spain 2013. Edward Burtynsky (Canadian, b. 1955). Digital chromogenic print on paper; 121.9 x 162.6 cm. New Orleans Museum of Art, Gift of the artist, 2016.46.8. © Edward Burtynsky, courtesy Weinstein-Hammons Gallery, Minneapolis / Metivier Gallery, Toronto

EXHIBITION

Medieval Monsters: Terrors, Aliens, Wonders

July 7–October 6

Kelvin and Eleanor Smith Foundation Exhibition GalleryOrganized by the Morgan Library & Museum, New York

Supporting Sponsor The Womens Council of the Cleveland Museum of Art

Saint Martha Taming the Tarasque from the Hours of Henry VIII, c. 1500. Illuminated by Jean Poyer (French, active 1465–1503). The Morgan Library & Mu-seum, New York, Gift of the Heineman Foundation, 1977, MS H.8 (fol. 191v)

Saint Margaret in Prison with the Dragon from the Prayer Book of Anne de Bretagne, in Latin and French, c. 1492–95. Jean Poyer. The Morgan Library & Museum, New York, Pur-chased by Pierpont Morgan (1837–1913), 1905, MS M.50 (fol. 20v)

The Cleveland Museum of Art is pleased to present Cai Guo-Qiang: Cuyahoga River Lightning and Water: Edward Burtynsky as part of Cuyahoga50, a citywide commemoration of the 50th anniversary of the last Cuyahoga River fire and celebration of the progress made toward clean water for all.

TALKS

Gallery Talk: Medieval Monsters Tue/Jul 16, 12:00

Beast or Monster? Animals in the Medieval World Wed/Aug 14, 6:00, Elizabeth Morrison, J. Paul Getty Museum

Gallery Talk: Monsters, Nonsense, and Wonder Fri/Aug 23, 6:00. Artist Sean Foley

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the exhibition prompts viewers to consider the func-tion of these creatures in medieval art, how they were received by their intended viewer, and how they served as a way of engaging with the foreign, the unknown, and the supernatural.

The Morgan’s manuscripts are complemented by works drawn from the CMA’s rich collections, including sculpture, prints, and illuminated man-uscripts. The exhibition explores at the outset the origins of monsters in the ancient world and finish-es with an examination of monstrous images as a nexus for humor, satire, warning, and inspiration. Within the pages of illuminated manuscripts, these

battling the forces of evil, such as dragons and de-mons. It is here that we encounter fearsome hell-mouths illustrating the fate of those who spurn a righteous life.

Section two, “Aliens,” takes a different approach to the monstrous by defining it as a deep sense of difference or otherness. The works demonstrate how marginalized groups in European society, such as Jews, Muslims, women (whose gender was be-lieved to bear the sin of Eve), the poor, and the dis-abled, were further alienated by being demonized as monstrous. The romanticized perception of the Middle Ages, featuring chivalrous knights, castles, and monks copying sacred texts within the confines of an ivy-covered cloister, is largely a creation of the 19th century. Here this image is challenged. Although responsible for exquisite art and stunning

CLOCKWISE FROM RIGHT Roman du Saint Graal, et de Merlin (Romance of the Holy Grail, and of Merlin) in French, c. 1450. France. Ink, tempera, and gold on vellum. The Morgan Library & Museum, New York, Purchased by Pier-pont Morgan (1837–1913), before 1913, MS M.207 (fols. 129v–130r)

Les abus du monde (The Abuses of the World) c. 1510. Pierre Gringore (French, c. 1475–1538). France, Rouen. Ink, tempera, and gold on vellum. The Mor-gan Library & Museum, New York, Purchased by Pierpont Morgan (1837–1913), 1899, MS M.42 (fols. 14v–15r)

Livre des merveilles du monde (Book of Marvels of the World) in French, c. 1460. Illuminated by the Master of the Geneva Boccaccio (French, active 1440–80). France, Angers(?). Ink and tempera on vellum. The Morgan Library & Museum, New York, Pur-chased by Pierpont Morgan (1837–1913), 1911, MS M.461 (fols. 26v–27r)

Psalter-Hours of Yolande de Soissons in Latin, c. 1280–99, and French, c. 1400. France, Amiens. Ink, tempera, and gold on vellum. The Morgan Library & Museum, New York, Pur-chased, 1927, MS M.729 (fols. 404v–405r)

figures functioned in contexts that ranged from knightly tales to the margins of devotional books, in which a variety of odd creatures acted in ways that are sometimes familiar, sometimes strange, and sometimes rude.

Medieval Monsters leads the visitor through three sections. The first, “Terrors,” explores how these creatures enhanced the aura of those who held power, usually men hailing from the nobility and clergy. The objects reveal how monstrous im-ages could be used to enforce compliance in society and to discourage dissent by stoking fear. It is in this section that we meet heroic saints and angels

architecture, as well as institutions like universities, constitutions, and parliaments, the Middle Ages was not a tolerant or pluralistic era. This section expos-es medieval racial stereotypes, anti-Semitism, and misogyny, illustrated through monstrous depictions of certain people deemed outside the mainstream.

Section three, “Wonders,” considers one of the most fascinating aspects of monsters: their ability to inspire a deep sense of marvel, awe, and mystery. Monsters were not always fearsome or repulsive creatures, but instead could take the form of fabled beasts like centaurs, griffins, giants, and unicorns. The beasts in this section may not necessarily pos-sess codified meanings or connotations, yet through their strange beauty or frightful abnormality they inspire a sense of marvel. Used in contemplative, ornamental, or entertaining settings, this class of monsters had the potential to bring joy and even laughter to a somber world.

More than mere figments of the imagination, monsters have played an important role throughout the history of Western civilization. The ubiquity and the variety of monstrosities in the art of the Middle Ages attest to their cultural importance and varied purpose. For the medieval mind, monsters provid-ed important testimony to the active intervention of the divine in this world.

TALK

In Conversation: Emeka Ogboh Sat/Aug 3, 2:00, Ames Family Atrium

Emeka Ogboh The artist works in multiple mediums.

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Ámà: The Gathering Place, a new site-specific com-mission by Emeka Ogboh (Nigerian, b. 1977), will enliven the Cleveland Museum of Art’s Ames Family Atrium this summer and fall. This is the CMA’s first commissioned artwork for the atrium and part of an ongoing series of large-scale contemporary art installations that will periodically be presented in that setting.

When Ogboh first entered the atrium while preparing for this project, he was surprised, even daunted, by the scale of the soaring space. Instinctively, he turned his attention away from the atri-um’s monumental architecture to the bustle of people and the activities that unfold within its physical frame. One of Cleveland’s largest freely accessible indoor spac-es, the atrium is used by locals and out-of-towners alike as a place for gathering, dining, working, and relaxing. Ogboh spent hours making sketches and

Ámà: The Gathering Place A welcoming installation in the atrium evokes a West African village square

EXHIBITION

Emily Liebert

Curator of

Contemporary Art

Ugochukwu-Smooth Nzewi

Curator of African Art

speaking with people about how they experienced the space, learning in the process that the atrium is “warm and welcoming,” “a social space,” “a place for reflection,” and “the heart and soul of the museum.”

Ogboh compares the social role of the atrium to that of the ámà, or village square, the central force of Igbo life in his native southeast Nigeria. “Both sites,”

he says, “are contact zones, spaces of gathering and of ritual activities, in their respective settings.” Based on this analogy, Ogboh determined the instal-lation’s key components—choral music, a sculptural rendering of a tree, and textiles—all of which are rooted in a traditional Igbo context but are re-

imagined through a contemporary global lens. Just as memories are not so much accurate records of the past as they are impressions reconfigured by subsequent experience, Ogboh’s installation does

EXHIBITION

Ámà: The Gathering Place

August 2–November 24

Ames Family AtriumPresenting Sponsor Sandy and Sally Cutler Strategic Opportunities Fund

not faithfully re-create an Igbo village square in Cleveland. Instead, it evokes some of the ámà’s de-fining elements to serve as a framework for engag-ing with an altogether different setting on the other side of the world.

This new work continues Ogboh’s multisensory approach to interpreting place, which is at the core of his art. Through previous audio installations he

has explored how sound impacts our experience of the world around us and has used his work to address topical issues of immigration, globaliza-tion, and postcolonial-ism. These works have been featured in numer-

ous solo exhibitions, public art commissions, and sig-nificant international surveys, including Documenta 14 (2017), Skulptur Projekte Münster (2017), the 56th edition of the Venice Biennale (2015), and the Dakar Biennale (2014).

For Ámà: The Gathering Place, newly commis-sioned recordings of Igbo folk songs, performed by a 12-person choir, will fill the atrium. This core fac-et of the work is grounded in the tradition of choral music typically performed in the Igbo ámà for en-tertainment and during ritual ceremonies. In this installation, the music is transmitted through multi-channel speakers, which Ogboh has designed to cre-ate three discrete zones of sound. The music travels unpredictably between the zones, and for a contin-uous listening experience visitors must physically follow the music. By using the Igbo soundscape to

influence specific paths of movement, Ogboh sets up a structure for the work in which the foreign and the local are mutually dependent.

During his second visit to Cleveland, Ogboh de-termined that the installation needed a powerful visual anchor around which sound and its related paths of movement would revolve. Thus emerged the idea for a looming sculptural representation of a tree in zone three. The 25-foot steel and aluminum construction was inspired by the central presence of a tree in the Igbo ámà, marking the site as a meeting place and inviting pause in its shade. The tree plac-es Ámà: The Gathering Place in a distinctive setting elsewhere, even as the installation responds to its specific surroundings.

The third marker of this work’s Igbo folk origins is the regionally specific Akwete cloth that was pro-duced for this project bearing both traditional de-sign patterns and contemporary motifs. One of West Africa’s oldest and most celebrated textile traditions, Akwete has bold colors and striking patterns and adorns bodies on ceremonial and festive occasions at the ámà. Maintaining its functional role, the Akwete in Ogboh’s project stands in as bark on the surface of the tree and covers beanbag chairs for visitors to re-cline and listen. The patterns on display were created by Nigerian graphic designers, who combine tradi-tional patterns and contemporary designs.

Mirroring the global scope of the CMA’s collection, Ámà: The Gathering Place offers an immersive wel-come to visitors, serving as a prologue through which to enter the museum’s encyclopedic galleries, which display culture spanning the farthest reaches of the world.

Mirroring the global scope of

the CMA’s collection,

Ámà: The Gathering Place offers

an immersive welcome to visitors

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A new rotation of the ArtLens Exhibition is enriching the museum experience and encouraging exploration like never before

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vation by providing visitors with the tools to look more closely at art. A recent National Endowment for the Arts study completed by the CMA’s Research and Evaluation Department in partnership with Rockman et al found that “people who visited the ARTLENS Gallery demonstrated greater gains in their level of art understanding and knowledge.”

We discovered that visitors wanted to explore all angles and perspectives of an artwork. Based on this feedback, the reinstallation incorporates zoom-able 3-D–projected models. Visitors can explore art-works in the CMA’s collection like never before—dig-itally turning them around to see the tops, bottoms, and insides. In addition, all 3-D objects are scanna-ble with the ArtLens App, providing another way to access additional content.

Iterative DesignStriking a balance between encouraging interac-tion with the games and close looking of the objects proved to be a fundamental design challenge: How do you shift focus from a digital game to a physi-cal object and back again? In Gallery One, this was achieved by using a monitor in front of an artwork that displayed its interactive image. However, this had the unfortunate effect of putting the digital in-teractive between the visitor and the artwork.

That idea has been turned on its head. We estab-lished sightlines where visitors would encounter an artwork and its digital counterpart at the same time. Some physical but not visual separation is necessary between the games and the artworks—but not too much, to maintain the ability to look between the digital projection and the actual artwork.

Artwork Selection ProcessOne unique aspect of ArtLens Exhibition is that it provides an opportunity to look at and consider connections across time and place. Each installa-tion can create a dialogue among the artworks and the digital interactives.

Articulating a theme, or a framework that would shape the way we interpreted and presented the objects, was important for this endeavor. The broad question “What can art be?” provided us with mul-tiple entry points into thinking about and engaging with such a diverse group of objects, each of which had to correspond to two games in different themes, allowing visitors to dive deeper into understanding the object. In the end we selected artworks that en-courage slowing down and discovering the unex-pected while having fun connecting with art. There is more than one way to understand a work of art, so we encourage visitors to consider their own re-actions and ideas.

Is it possible to take Art History 101 through game-play? ArtLens Exhibition aims to provide non- traditional visitors—including first-time and repeat visitors—with a tool kit to understand how to look at art using the concepts of composi-tion, symbols, purpose and gesture, and emotion. In June, ArtLens Exhibition reopened with a new display of 21 art-works from across the collection—from medieval to decorative arts to contem-porary. This interactive gallery will con-tinue to rotate every 18 to 24 months.

After the original iteration, Gallery One, opened in 2012, visitor feedback revealed that although the interactives were successful, the themes and the placement of artworks in front of touchscreens were confusing to visitors. Redesigned with a focus on dig-ital approaches to understanding the museum, the renamed ArtLens Exhibition opened in September

What Can Art Be?EXHIBITION

Jane Alexander

Chief Digital

Information Officer

Jennifer DePrizio

Director of

Interpretation

Jim Engelmann

Exhibition Designer

2017 with 16 new interactives that intertwine in-novative gesture-sensing, eye-tracking, and facial recognition with a selection of CMA masterworks.

Selecting artworks for the gallery is a collabo-rative process. The Digital Innovation Team, composed of representatives from different departments including digital, technology, interpretation, and design, worked with curators of each collection to generate a list of more than 100 pos-sibilities. A smaller cross-departmental team refined the list, prioritizing objects that would be accessible to a broad audi-ence but that also would inspire regular visitors to think about familiar objects in new ways. Our focus on expertise and col-

laboration has resulted in a successful and engaging installation.

As an inherently iterative space, ArtLens Exhibition seeks to push the boundaries of inno-

Are We Achieving Our Goals?Funded by the National Endowment for the Arts and designed by the CMA’s Research and Evaluation Department, a recent study analyzed the impact of ARTLENS Gallery on the visitor experience. Among

the findings, the data revealed that while many museum patrons initially felt unsure of their knowl-edge about art, those who visited

ARTLENS Gallery left with an increased understanding of and comfort level with art compared to those who did not. Visitors to the gallery were more likely to express having fun at the CMA and to think of art museums as places to have new experiences. The majority of visitors could attribute the following to time spent in the digital interactive space:

• Gaining an increased interest in the collection (which they viewed more extensively than other visitors)

• Being encouraged to look closely at art and notice new details

• Learning new skills for viewing or interpreting art

• Being guided to artworks of personal interest

Overall, the research shows that ARTLENS Gallery offers tools for visitors to connect with art in person-al and unique ways. The white paper from this two-year study, Art Museums and Technology: Developing New Metrics to Measure Visitor Engagement, is avail-able online at cma.org/ARTLENS-visitor-study.

Hannah Ridenour

Research Manager

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Wild Things 2011. Haim Steinbach (American, b. 1944). Various mass- produced objects on a plastic-laminated wood shelf; overall: 102.9 x 184.8 x 48.3 cm. Purchased with funds donated by Scott Mueller, 2015.30. One of 21 objects in this reinstallation ranging from antiquity to the present.

The cross-departmental ArtLens team includes representatives from digital, technology, interpretation, design, the library, collec-tions management, and exhibitions.

New to This Installa-tion Explore 3-D–projected models of objects to uncover exciting new details.

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This July the museum presents Sonic Blossom (2013), an interactive performance created by artist Lee Mingwei that imparts the gift of song to visitors. Lee developed this project while providing postop-erative care for his mother; they found comfort in listening to Franz Schubert’s Lieder, poems set to classical music with romantic or pastoral themes written for a single vocalist. “Seeing my own mother weak and ill made her (and my) mortality suddenly very real,” Lee explains. “Aging, disease, and death were no longer abstractions to me but immediate and present. One day she—and I—will be gone. Like Schubert’s Lieder, our own lives are brief but all the more beautiful be-cause of this.” As the artist contemplated the fleeting beauty of life, the notion of a folding and unfolding blossom, a sonic blossom, became the foundation for this immersive musical experience.

The performances take place in the CMA’s Reinberger Gallery (212) surrounded by bold

Sonic Blossom Experience Schubert’s Lieder in gallery 212

PERFORMANCE

Jennifer DePrizio

Director of Interpretation

Baroque paintings and sculptures. Visitors will en-counter a vocalist from the Cleveland Institute of Music wearing what the artist calls a transformation cloak, an elegant custom-made garment inspired

by origami that incorporates two 1940s Japanese maru obi kimono sashes. The vocalist wanders through the gallery ap-proaching one visitor at a time and asks,

“May I give you the gift of song?” If the gift is accept-ed, the visitor is led to a special chair, and the vocal-ist performs one of five of Schubert’s Lieder directly to that individual. The intimacy of this experience endows the work with an unexpected drama.

Sonic Blossom was created for the inaugural ex-hibition at the National Museum of Modern and Contemporary Art, Korea, in 2013. After having been performed at museums around the world, the work comes to Cleveland as part of the exhibition Lee Mingwei: You Are Not a Stranger, on view at moCa Cleveland through August 11.

PERFORMANCES

Fri/Jul 12, 19, 26, 4:00–8:00

Sat/Jul 13, 20, 27, 12:00–4:00

Sun/Jul 14, 21, 28, 12:00–4:00

Reinberger Gallery (212)

Tucked in a corner of gallery 242B is the first folio from a manuscript of an 18th-century romance. The diminutive images were skillfully etched into cured palm leaf and blackened by applying charcoal pow-der and wiping it off; finally, select ele-ments were painted. When complete, this manuscript had hundreds of such folios, stacked to create a narrow hor-izontal book, bound by a single string through a hole in the center.

When the museum acquired this work, the scenes and the manuscript from which it came were unidentified. Phyllis Granoff, Lee Hixon Professor of Religious Studies at Yale University, deciphered the tiny inscriptions written in the east-ern Indian language of Odiya. She discovered that this folio depicts episodes from the preamble to the romance of Chandrabhanu and Lavanyavati. Granoff then recognized that another folio in

A Page from Supernatural Love Collaboration often leads to unanticipated discoveries

COLLECTION HIGHLIGHT

Sonya Rhie Mace

George P. Bickford Curator

of Indian and Southeast

Asian Art

the museum’s collection (1979.21) also belongs to this manuscript. The current display in gal-lery 242B is themed Supernatural Love, and this romance begins with an origin story. A prince per-

formed extreme acts of yoga and wor-shiped the Hindu god Shiva to obtain a divine woman. When his request was granted, he touched her and she died. He then committed suicide. They were reborn as Chandrabhanu and

Lavanyavati, the protagonists of the story.The verso side of the folio is now on view and

shows Shiva riding his bull Nandi, preceded by his devotee Bhringi, a yogi with four arms and three legs; an attendant carrying a bottle of wine and a fan follows. Having granted the prince’s wish, Shiva returns to his seat on the sacred Mount Kailash, depicted here as a pavilion at the summit of multi-colored stylized rocks in a forest.

RECTO (ABOVE) AND VERSO (BELOW)Leaf from a Romance of Chandrabhanu and Lavanyavati of Upendra Bhanja (Indian, died 1740) 1700s. Eastern India, Orissa. Gum tempera and charcoal on

palm leaf; 5.1 x 41 cm. Purchase and partial gift from the Catherine and Ralph Benkaim Collection; Severance and Greta Millikin Purchase Fund, 2018.175

Sonic Blossom 2013– present. Lee Mingwei (American, b. Taiwan 1964). Participatory performance with chair, music stand, costume, and spontaneous singing. Installation view, Lee Mingwei: You Are Not a Stranger, moCa Cleveland, 2019. Courtesy moCa Cleveland

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The Cleveland Museum of Art’s role as an educa-tional institution has always been a high priori-ty. The museum’s first director, Frederic Allen Whiting, had hired Emily Gibson to direct these efforts even before the insti-tution’s doors opened to the public. She immediately created the Division of Circulating Exhibits (later the Extensions Department), which brought works of art to local institutions and civic organizations. The department’s collection, inde-pendent of the museum’s, included objects from around the world in every medium spanning an-cient through contemporary art.

By 1919 rotating exhibitions were taking place around the city, with Ruth Ruggles managing the program. Displays designed to augment school curricula included teacher and librarian resourc-es. In its early years, the department relied on gifts and loans. Despite this limitation, by 1930 the col-lection included nearly 4,000 works.

In 1937, with an appropriation from museum trustees, Ruggles spent two months in Europe ac-quiring hundreds of works, including several tex-

Leslie Cade

Director of

Museum Archives

FROM THE ARCHIVES

Unusual ResourcesA number of works in the CMA collection, including Swedish textiles, were originally acquired for educational purposes

tiles by Josef Frank, an Austrian-born designer who emigrated to Sweden. Perhaps having first been dis-played in the 1937 Scandinavian Handicraft exhi-bition in the museum’s education corridor, Frank’s works are currently featured in Color and Comfort: Swedish Modern Design, 1930–1970, on view in the Holden Textile Gallery (234). Grants and en-dowments established in the 1940s, including the Harold T. Clark Educational Extensions Fund, re-sulted in major growth of the collection, which even-tually included more than 18,000 objects.

The museum’s board of trustees voted to close the Extensions Department due to budget constraints in 1992. The collection materials were carefully re-viewed for a “better understanding of how those unusual resources might function in the broader education-outreach mission of the museum,” as not-ed in the annual report of that year. Thus, many works from the extensions collection are now part of the CMA’s Art to Go program.

Recent reviews of that collection have result-ed in the transfer of many textiles to the perma-nent collection. In addition to Swedish textiles, rare Russian laces have been added, while a collection

of stencils by August Biehle was trans-ferred to the Museum Archives. Records of the Extensions Department are locat-ed in the Museum Archives, and imag-

es of museum exhibitions featuring Swedish art are available online in the digital archives.

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The Cleveland Museum of Art strives to offer oppor-tunities for deeper engagement to its members. By

joining an affinity group, you can develop a lifelong relationship with the collection, curators, and staff while connecting with like-minded individuals. Each group has a dis-

tinct identity and hosts specially designed programs, including lectures, tours, and trips to galleries, mu-seums, and private collections.

Column & StripeThis young professionals group enjoys behind-the-scenes access to the museum’s world-class collec-tion and exclusive programming at local arts ven-ues, as well as culturally relevant networking and social events.

Contemporary Art SocietyThis group of enthusiasts, collectors, and connois-seurs shares insights and experiences by participat-ing in programs and social events that explore the constantly changing art of our time.

Friends of African and African American ArtFormed to celebrate, stimulate, and encourage the study of works created by African and African American artists, this group enjoys and supports programs at the museum as well as at regional ven-ues and beyond.

Friends of PhotographyStriving to cultivate knowledge of the art and his-tory of photography, this group promotes person-al collecting of the medium and offers programs that support and stimulate interest in the study of photography.

Textile Art AllianceThis group promotes textile and fiber arts through exhibitions and programs, such as collection visits and workshops, and hosts fundraising activities to acquire works for the museum.

What’s Your Passion? Affinity groups focus on shared enthusiasms

PHILANTHROPY

Cindy Kellett

Director of

Membership

NEWAsian Art SocietyThis newly launched group celebrates, explores, and learns about the museum’s world-class Asian art collection and its special exhibitions through ed-ucational programs.

Members at the Fellow level and above may select a complimentary membership into at least one af-finity group, depending on the membership level. Already a qualifying member and participating in one of our groups? You’ll be receiving information shortly about how to access your dues-free affinity group membership.

If you’re interested in upgrading your mem-bership to take advantage of this offer or in join-ing a group and staying at your current level, email MemberPrograms@clevelandart.org.

The CMA’s affiliate groups—the Painting and Drawing Society, the Print Club, and Womens Council—each have a separate dues structure and registration process. For more information visit cma.org/join-and-give. Karamu Goes Swedish

Modern Photos from 1975 (above) and 1967 document exhibitions of Swedish textiles at Karamu House in Cleveland.

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HANDS-ON ART MAKING

Open StudioEvery Sun, 1:00–4:00. All ages. Join us for drop-in art making in our Make Space. Everyone is encouraged to imagine, exper-iment, and create. You’ll find us on the classroom level of the mu-seum. There’s a new theme each month to provide inspiration and encourage new ways to approach art materials. July’s theme is Imagine. In August we’re thinking about Environment.

Studio ClassesMY VERY FIRST ART CLASSYoung children and their favorite grown-up are introduced to art, the museum, and verbal and visual literacy in this playful pro-gram. Each class features explo-ration in the classroom, a gallery visit, and art making. Wear your paint clothes! New topics each class.

Four Fri/Jul 12–Aug 2, 10:00–10:45 (ages 1½–2½); 11:15–12:00 (ages 2½–4½)

Four Fri/Aug 9–30, 10:00–10:45 (ages 1½–2½); 11:15–12:00 (ages 2½–4½)

Four Fri/Sep 6–27, 10:00–10:45 (ages 1½–2½); 11:15–12:00 (ages 2½–4½)

Eight Sat/Oct 5–Nov 23, 10:00–10:45 (ages 2–4)

Fees Friday four-week sessions: adult/child pair $80, CMA mem-bers $72. Saturday eight-week session: adult/child pair $160, CMA members $144.

CMA CREATIVITY CAMPSAges 4–18. Engaging gallery games and hands-on creativity.

Play + Imagine (ages 4–6) Jul 15–19, 9:00–12:00. $175, CMA members $150.

Follow Your Curiosity (ages 7–9) Jul 15–19, 9:00–4:00. $350, CMA members $325.

Experiment + Create (ages 10–12) Jul 22–26, 9:00–4:00. $350, CMA members $325.

Teen Ceramics (ages 13–18) Jul 22–26, 9:00–12:00. $175, CMA members $150.

SATURDAY STUDIOS: CLASSES FOR CHILDREN AND TEENSFall Session Eight Sat/Oct 5–Nov 23, 10:00–12:00 or 1:30–3:30. Each week includes gallery visits and studio time.

If you’d like to take a class at the same time as your child, check out Studio Classes for Adults on Fridays and Saturdays.

For classes for 1½- to 4½-year-olds on Fridays, see My Very First Art Class.

10:00–10:45My Very First Art Class (ages 2–4)

10:00–12:00Play like an Artist (ages 4–5) Curiosity Lab (ages 6–8) Creative Challenges (ages 9–13)

1:30–3:30NEW! Teen Portfolio Prep (ages 14–18) Eight Sat/Oct 5–Nov 23. Instructor: Cliff Novak.

Fees $210, CMA members $180. My Very First Art Class: $160, CMA members $144. Teen Port-folio Prep: $240, CMA members $210.

Friday-Night MinisIn-depth workshops for All Ages.

See Adult Studios for Friday- Night Minis for adults only.

Relief-Printed Ceramics (all levels) Four Fri/Sep 27–Oct 25 (no class Oct 18), 6:30–8:30. Instructor: Laura Ferrando.

Design Your Own Tarot Deck (all levels) Four Fri/Nov 1–22, 6:30–8:30. Instructor: Susie Underwood.

NOTE: Children under 14 must take the class with a registered adult; adults welcome to attend all-ages studios without children.

Fees $140, CMA members $120.

Adult StudiosFall Session Eight-week classes, Sep–Nov. Special workshops of-fered on select Wednesdays and Saturdays and new four-week mini-sessions are now available. All skill levels welcome.

TUESDAYSStill-Life Painting Eight Tue/Oct 1–Nov 19, 10:00–12:00. Instructor: Susan Gray Bé. $240, CMA mem-bers $210.

WEDNESDAYSWorkshop Wednesday: Conté Pastel Drawing Wed/Sep 11, 6:00–8:30. Instructor: Susan Gray Bé. $50, CMA members $40.

Drawing in the Galleries Eight Wed/Oct 2–Nov 20, 10:00–12:00. Instructor: Susan Gray Bé. $245, CMA members $215.

Workshop Wednesday: Water- color Discovery Wed/Nov 6, 6:00–8:30. Instructor: Nancy Notarianni. $50, CMA members $40.

FRIDAYSFriday-Night Mini: Creatively Drawing the Collection Four Fri/Sep 6–27, 6:00–8:00. Instructor: David Verba. $140, CMA mem-bers $120.

Composition in Oil Eight Fri/Oct 4–Nov 22, 10:00–12:00. Instruc-tor: Susan Gray Bé. $240, CMA members $210.

Please see Friday-Night Minis for four-week All-Ages studios. Adults without children are wel-come in all-ages studios.

SATURDAYSDrawing in the Galleries Eight Sat/Oct 5–Nov 23, 10:00–12:00. Instructor: Susan Gray Bé. $245, CMA members $215; includes model fee for one session.

All-Day Workshop: Medieval Monsters and Creative Drawing Sat/Sep 28, 10:00–4:00. $100, CMA members $85.

Composition in Oil Eight Sat/Oct 5–Nov 23, 1:30–3:30. Instructor: Susan Gray Bé. $240, CMA mem-bers $210.

Four-Week Mini: Creative Dig-ital Photography Four Sat/Oct 5–26, 1:30–3:30. Instructor: Ben Hauser. $140, CMA members $120.

Scholarships available! Inquire at AdultStudios@clevelandart.org.

ALL-AGES WORKSHOPSPlease note: Children under 14 must take the class with a regis-tered adult.

Screenprinting Wed/Jul 10, 6:00–8:30. Instructor: Julie Schabel. $50, CMA members $40.

Mandala Making Sat/Jul 13, 1:30–3:30; outdoor workshop (weather permitting). Instructor: Jessica Wascak. $50, CMA mem-bers $40.

Build Your Own Graphic Novel Wed/Jul 17, 6:00–8:30. Instruc-tor: Kate Atherton. $50, CMA members $40.

Ceramics Wed/Jul 24, 6:00–8:30. Instructor: Laura Ferrando. $50, CMA members $40.

Linoleum Block Printing Wed/Jul 31, 6:00–8:30. Instructor: Michaelle Marschall. $50, CMA members $40.

Screenprinting Wed/Sep 25, 6:00–8:30. Instructor: April Bleakney. $50, CMA members $40.

Junk Shop Jewelry Wed/Oct 9, 6:00–8:30. Instructor: Susie Underwood. $50, CMA members $40.

Monoprinting Wed/Oct 23, 6:00–8:30. Instructor: Julie Schabel. $50, CMA members $40.

Register for studios online at cma.org/learn or call 216-421-7350.

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Summer Is a Must-SeeCMA Outdoors Wed/Jul 10 and 24, Aug 7 and 21, Sep 4 and 18, 3:00. Explore the green space around the CMA in a docent- guided tour. Studio Go in the Fine Arts Garden Every Fri in Jul, 5:00– 8:30, with new activities each week in partnership with the Cleveland Print Room. All ages welcome. Outdoor Film Fri/Aug 16, 8:00, East Bell Commons (East Boulevard and Bellflower Road). Free screening of Sky Ladder: The Art of Cai Guo-Qiang.#mustcma

18 July/August 2019 www.clevelandart.org 19

Studio Go Studio Go continues its dedication to cultivating accessi-ble, communal programs for self-discovery and expression at community festivals and events. All Studio Go projects, games, and puzzles serve as a catalyst for deeper conversa-tions about the impact of art within our lives, communities, and institutions.

Our current projects focus on perspective as we explore the theme Through Different Lenses. This summer we welcome photographers from the Cleveland Print Room as artists-in-residence to facilitate photography projects at select events. You can also enjoy art activities, games, and puzzles inspired by the Cleveland Museum of Art’s collection.

Join Recess Cleveland and Studio Go every Friday in July from 5:00 to 8:30 at the CMA’s outdoor campus for creative challenges, games, and art activities. These all-ages events feature new programs every week.

Follow Studio Go’s journey throughout northeast Ohio on social media by searching #CMAStudioGo. For more informa-tion, including the full schedule, visit cma.org. If you would like to schedule a Studio Go visit or co-program an event at your site, email StudioGo@clevelandart.org.

Sponsored in part by

Talks and ToursTours are free; meet at the infor-mation desk in the Ames Family Atrium unless noted.

Guided Tours 1:00 daily. Addi-tional tour offered at 11:00 on Tue and Fri. Join a CMA-trained do-cent and explore the permanent collection and nonticketed exhi-bitions. Tours and topics selected by each docent. Visit cma.org/daily-tours for topics.

American Sign Language Gallery Talks Sat/Jul 20 and Aug 17, 1:00. Interpreted by students in the American Sign Language / English Interpreting Program at Kent State University. Open to all.

Exhibition Tours Medieval Mon-sters Jul 17–Sep 29, Wed and Sun/2:00. Limit 25. Tour ticket required.

CMA Outdoors Wed/Jul 10 and 24, Aug 7 and 21, Sep 4 and 18, 3:00. Explore the green space around the CMA in these docent-guided experiences. In the event of rain, tours will be canceled, but brochures for self-guided walks are available.

River Lightning, which features three monumental gunpowder- ignited paintings that reflect the artist’s thoughts on the state of our planet, wildlife, and the world’s diminishing natural re-serves of fresh water.

Gallery Talk: Medieval Monsters Tue/Jul 16, 12:00, Kelvin and Eleanor Smith Foundation Exhi-bition Gallery. Jennifer DePrizio leads a gallery discussion high-lighting the ways in which mon-sters were used in the Middle Ages to instill fear, communicate morality, maintain power, and explain natural phenomena.

In Conversation: Emeka Ogboh Sat/Aug 3, 2:00, Ames Family Atrium. Emeka Ogboh’s Ámà: The Gathering Place is the CMA’s newly commissioned site-specific installation. Ogboh integrates sound, sculpture, and textiles that evoke a traditional Igbo (Ni-gerian) setting and reimagines those elements through a con-temporary global lens. He joins in conversation with CMA curators Emily Liebert and Smooth Nzewi.

Beast or Monster? Animals in the Medieval World Wed/Aug 14, 6:00, Gartner Auditorium. In conjunction with Medieval Mon-sters, explore animals both real and imaginary in the Middle Ages with Elizabeth Morrison, senior curator of manuscripts at the J. Paul Getty Museum. Although Europeans in the medieval era were familiar with domesticated animals, exotic animals such as lions and elephants were large-ly known only through stories, books, and images. The besti-ary, a kind of medieval animal encyclopedia, wove together these creatures as evidence of God’s awesome creative powers; the creatures’ appearances and behaviors were explained as reflections of Christian vices and virtues. Free; ticket required.

Gallery Talk: Monsters, Non-sense, and Wonder Fri/Aug 23, 6:00, Kelvin and Eleanor Smith Foundation Exhibition Gallery. Contemporary artist Sean Foley explores the monstrous and gro-tesque in his painting practice. He discusses key works in Me-dieval Monsters through a prism of wonder. Using “nonsense” as a point of departure, Foley encourages visitors to encounter monsters in a way that sparks their own imaginative inquiries and curiosity.

The Dr. John and Helen Collis Lecture Sun/Sep 29, 2:00, Gart-ner Auditorium. Kiki Karoglou, associate curator of Greek and Roman art at the Metropolitan Museum of Art, presents “Dan-gerous Beauty: Medusa in Clas-sical Art.”

Be Inspired by West Africa This summer, Nigerian artist Emeka Ogboh creates a site-specific installation in the Ames Family Atrium. Hear the artist in person twice in one weekend! First, on Friday, August 2, at 6:00, Ogboh plays DJ at the Afropop-infused MIX: Lagos dance party. Then on Saturday at 2:00, enjoy his conversation with curators Emily Liebert and Smooth Nzewi.

Join InMindfulness at the Museum: Yoga & Meditation Second Sat of every month. Yoga 10:30, Ames Family Atrium; Meditation 12:00, Nancy F. and Joseph P. Keithley Gallery (244). Clear your mind and refresh your spirit during yoga and meditation sessions led by experienced practitioners in the serene atmosphere of the museum. All are welcome; no prior experience is required.

For TeensJoin Currently Under Curation The CMA is accepting appli-cations for the 2019–20 teen curatorial team. Participants curate an exhibition, engaging with museum professionals along the way. The program is open to 9th to 12th graders. Applications are due August 1. Visit cma.org/teen-curation.

Art Café at CMA Second Tue of every month, 2:00–4:00. For caregivers: a guided gallery tour followed by a Dutch-treat visit to the café. Register through the ticket center.

Art in the Afternoon First Wed of every month, 1:15. For par-ticipants with memory loss and one caregiver. Preregistration required; call 216-342-5607.

Curator Talk: Edward Burtynsky Tue/Jul 9, 12:00; Wed/Sep 11, 6:00, Mark Schwartz and Bettina Katz Photography Gallery (230). Curator Barbara Tannenbaum leads a gallery talk on Water: Edward Burtynsky, which draws attention to threats to clean, sus-tainable water and encourages visitors to reflect on the impact of individual choices. On Sep 11, Tannenbaum is joined by Mat-thew Burkhart from CWRU.

Curator Talk: Cai Guo-Qiang Wed/Jul 10, 6:00; Tue/Aug 6, 11:00; Wed/Sep 4, 6:00, Julia and Larry Pollock Focus Gallery (010). Curator Clarissa von Spee leads a tour through the exhibi-tion Cai Guo-Qiang: Cuyahoga R

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mental tree sculpture in the Ames Family Atrium

Cuyahoga River Lightning The work in process. Photo: Wen-You Cai. Courtesy of Cai Studio.

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You Ask, We AnswerPerhaps it’s a fascination with the macabre, but it doesn’t take long for a visitor to the museum’s Egyptian galleries to notice something, or the lack of something. There are several elabo-rately decorated mummy cases but no bodies, prompting one of our most popular queries: where are the mummies?

Including animals, the museum collection once contained a total of seven mummies. The only human mummy arrived in the Coffin of Senbi (1914.716). Several years after acqui-sition, the CMA lent Senbi to researcher T. Wingate Todd at Western Reserve University for study. A later biographical sketch of Dr. Todd suggests that his work habits were such that he examined Senbi in the living room of his home, in front of the fire-place. Senbi was transferred in 1923 to the university’s Hamann Museum of Comparative Anthropology and Anatomy. Correspondence from the archives also reveals that in recognition of the gift, Todd provided the CMA with a collec-tion of Senbi and Royal Mummies lantern slides, contributing to the library’s growing research resources. Following a se-ries of name changes, the Hamann-Todd Human Osteological Collection was transferred in 1973 to the Cleveland Museum of Natural History, where it remains, so to speak.

At one time, the CMA collection also included animal mum-mies. Our records indicate that three of these were sold to the Rosicrucian Egyptian Museum in San Jose, California, in 1939. A mummified head of an elderly bull is still in their collection and has been 3-D scanned, allowing for digital manipulation of the 5,000-year-old artifact. Mysteriously, the Rosicrucian Museum records account for only two mummies purchased from the CMA, the bull and a gazelle. They have no record of a falcon supposedly purchased from us.

From there, the story unravels. Three mummies remained in the collection. A mummified creature with no description was destroyed in 1947. And two more, a second falcon and what is described as an Osiris mummy, were deaccessioned in 1968 and presumably sold. They are out there somewhere.

If you have a question about the museum’s collection, histo-ry, or exhibitions, or if you just want to see what other visitors are asking, visit cma.org/ask. You ask, we answer.

Matthew Gengler

Head, Access Services,

Ingalls Library

For TeachersEducator Open House Wed/Aug 7, 3:30–5:00. Receive resources for your classroom, enjoy re-freshments, and explore all of the CMA’s programs and curricu-lum for students and educators. RSVP by August 1 at TeachingInnovationLab@ clevelandart.org. Free.

Visit cma.org/teach for up-to-date information regarding edu-cator events and workshops.

Now Accepting Applications for the 2019–20 Teen Summit. High school teachers are invit-ed to apply to Teen Summit, a field-trip program beginning in November. Students learn about professional environments by experiencing real-world situa-tions in a space where it is safe to experiment, make mistakes, and grow. Using a world-class institution as a classroom, stu-dents develop problem-solving skills through teamwork. Find out more at cma.org/teach.

Art StoriesEvery Sat, 11:00–11:30. Read, look, and play! Join us for this weekly story time that combines children’s books, CMA artworks, and interactive fun. Explore a new topic each week. Designed for children and their favorite grown-ups. Each session begins in the Ames Family Atrium and ends with a gallery walk. Free.

Community ArtsEnjoy Community Arts artists and performers at area events. For details and updated informa-tion visit cma.org.

Art Crew Characters based on objects in the museum’s perma-nent collection give the CMA a touchable presence and vitality in the community. $50 non- refundable booking fee and $75/hour with a two-hour minimum for each character and handler. Contact Stefanie Taub at 216-707-2483 or email CommArtsInfo@clevelandart.org.

Chalk Festival Sat and Sun/Sep 14 and 15, 11:00–5:00. Enjoy chalk artists and free entertainment at the 30th annual Chalk Fes-tival. Chalk your own pictures: large square and 24-color box of chalk, $20 each; small square and 12-color box of chalk, $10 each. Drop-in registration. Large groups are requested to prereg-ister. For more information call 216-707-2483 or email CommArtsInfo@clevelandart.org.

Preparatory Workshops on Chalk Making and Street Paint-ing Learn to make chalk using an old world recipe with new world materials, along with professional techniques for masking, sten-ciling, shading, and enlarging a picture. See details and fees below.

Family Chalk Workshop (all ages) Sat and Sun/Sep 7 and 8 (single workshops). Ages 6 and under: free with paying adult; ages 7–12: $10/person with pay-ing adult; ages 13–adult: $25/person. Fee includes materials and reserves chalk and a square for the festival.

Advanced Chalk Workshop Se-ries (teens/adults) Wed/Aug 21 and 28, Sep 4 and 11, 6:00–9:00. $75/person. Fee includes ma-terials and reserves chalk and a square for the festival.Sponsored by

Coffin of Senbi (c. 1918–1859 BC) Egypt, Meir, Middle Kingdom, mid-Dynasty 12, reign of Amenemhat II to Sesostris III. Gessoed and painted cedar; overall: 70 x 55 cm. Gift of the John Huntington Art and Polytechnic Trust, 1914.716

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R. W. Fassbinder’s BRD TrilogyWest Germany’s Rainer Werner Fassbinder (1945–1982) was a protean and prolific writ-er, actor, and director who made 41 feature films in the 13 years before his death from a drug overdose at age 37. An outspoken, left-wing homosexual and rebel, he worked with a regular stock company of friends, lovers, and family members on a series of biting, bitter social dramas de-picting the immorality of the powerful and the powerlessness of the working class.

Fassbinder made one of his signature achievements be-tween 1978 and 1982, near the end of his abbreviated life. The BRD (Bundesrepublik Deutschland) Trilogy consists of three films set during Germany’s postwar “economic miracle” of the 1950s, when the devastated nation, led by Chancellor Konrad Adenauer, restored democracy, repaired relations with other countries, and rebounded financially. But Fassbinder’s view of the era is not so rosy.

In his trilogy, Fassbinder focuses on a trio of women who are struggling to find their way in the newly strange postwar Deutschland. Unfortunately, the road to prosperity for each of them is paved with moral compromise and corruption. Fassbinder depicts a resurgent Germany with an overzeal-ous embrace of capitalism and a too-sudden amnesia about its shameful past.

John Ewing

Curator of Film

FILM

Each movie shown from 35mm film in Morley Lecture Hall. Admission to each is $12, CMA members $9. All directed by Rainer Werner Fassbinder.

The Marriage of Maria Braun Sun/Jul 21, 1:30. Tue/Jul 23, 1:45. With Hanna Schygulla. In this darkly funny allegory of postwar Germany that was Fassbinder’s biggest box office hit, the Ger-man “economic miracle” of the 1950s is mirrored in the life of a sexy war bride who shrewdly builds an industrial empire. (W. Germany, 1978, 120 min.)

Veronika Voss Tue/Aug 6, 1:45. Fri/Aug 9, 7:00. With Rosel Zech. This eerie reworking of Sunset Boulevard focuses on the last days of a movie actress popular during the Third Reich, now a drug-addicted wreck living in Munich 10 years after the war. (W. Germany, 1982, subtitles, 104 min.)

Lola Sun/Aug 18, 1:30. Tue/Aug 20, 1:45. With Barbara Sukowa and Armin Mueller-Stahl. In this loose update of Marlene Dietrich and Josef von Sternberg’s The Blue Angel, a small-time cabaret performer pursues respectability via romances with both an upright city commissioner and a corrupt developer. (W. Germany, 1981, subtitles, 113 min.)

CLOCKWISE FROM TOPThe Marriage of Maria Braun, Veronika Voss, and Lola

Other FilmsUnless noted, all movies shown in Morley Lecture Hall and admis-sion to each is $10, CMA mem-bers $7.

Working Woman Tue/Jul 2, 1:45. Fri/Jul 5, 7:00. Directed by Michal Aviad. In this potent drama that “unfolds like a psychological thriller” (NY Times), a married woman who is her family’s prima-ry breadwinner struggles against persistent sexual harassment at work. Cleveland premiere. (Israel, 2018, subtitles, 93 min.)

EXHIBITION ON SCREENVan Gogh & Japan Sun/Jul 7, 1:30. Tue/Jul 9, 1:45. Directed by David Bickerstaff. The influence of Japanese art on Vincent van Gogh is explored in this new documentary inspired by a 2018 exhibition at Amsterdam’s Van Gogh Museum. Cleveland pre-miere. (UK, 2019, 85 min.) Special admission $15, CMA members $11.

Satan & Adam Fri/Jul 12, 7:00. Directed by V. Scott Balcerek. Shot over 20 years, this uplifting new documentary charts the unlikely friendship between two musicians who met on a Harlem street corner in 1986. Sterling “Mr. Satan” Magee was an elder-ly, Mississippi-born black man and one-man band, and Adam Gussow was a young, white, Jew-ish Ivy Leaguer and harmonica player. (USA, 2018, 80 min.)

MERCE CUNNINGHAM CENTENNIAL (see also p. 21)If the Dancer Dances Sun/Aug 4, 1:30. Directed by Maia Wechsler. In this new documentary, NYC choreographer Stephen Petronio and his contemporary dance company work to re-create Rain-Forest, an iconic 1968 work by Merce Cunningham (1919–2009), and thus keep it alive. Cleveland premiere. (USA, 2018, 83 min.)

Mary Magdalene Sun/Aug 11, 1:30. Tue/Aug 13, 1:45. Directed by Garth Davis. With Rooney Mara, Joaquin Phoenix, and Chi-wetel Ejiofor. The second feature from the director of Lion is a re-visionist, feminist biblical drama that asserts Mary Magdalene’s importance among Jesus’s early disciples. (UK/Australia/USA, 2018, 120 min.)

FREE OUTDOOR SCREENING!Sky Ladder: The Art of Cai Guo-Qiang Fri/Aug 16, 8:00, East Bell Commons (East Blvd. & Bellflow-er Rd.). Directed by Kevin Mac-donald. This recent documentary traces the meteoric rise of Cai

Iyengar: The Man, Yoga, and the Student’s Journey Sun/Jul 14, 1:30. Directed by Jake Clennell. This new documentary profiles reclusive (but widely influential) yoga teacher and author B. K. S. Iyengar (1918–2014). (USA/India, 2018, subtitles, 106 min.)

Leaving Home, Coming Home: A Portrait of Robert Frank Tue/Jul 16, 1:45. Fri/Jul 19, 7:00. Directed by Gerald Fox. Shot in 2004 but unreleased until this year, this profile of the great Swiss-born photographer of The Americans is the frankest (sorry) portrait

of the artist ever captured on screen. Cleveland premiere. (UK, 2005/19, 85 min.)

NEW RESTORATION!The Fate of Lee Khan Fri/Jul 26, 7:00. Directed by King Hu. 14th- century Chinese resistance fight-ers conspire to retrieve a map from their Mongol overlords in this masterpiece from the direc-tor of A Touch of Zen. Cleveland revival premiere. (Taiwan/Hong Kong, 1973, subtitles, 106 min.)

The Price of Everything Sun/Jul 28, 1:30. Directed by Nathaniel Kahn. The acclaimed new doc-umentary from the director of My Architect takes a look at the contemporary art market—from staggering prices and their im-pact on artists and museums to the inherent value of works of art. (USA, 2018, 98 min.)

Lost & Found Tue/Jul 30, 1:45. Fri/Aug 2, 7:00. Directed by Liam O Mochain. This comedy-drama tells seven interconnected stories all centered around the lost-and- found office of a small-town Irish train station. Cleveland premiere. (Ireland, 2017, 96 min.)

PETE SEEGER CENTENNIALPete Seeger: The Power of Song Sun/Aug 25, 1:30. Directed by Jim Brown. With Joan Baez, Johnny Cash, Arlo Guthrie, et al. Legendary folk singer, song-writer, and activist Pete Seeger (1919–2014), who was once blacklisted and banned from TV for 17 years, is celebrated in this inspired and inspiring biography. (USA, 2007, 93 min.) Screening co-sponsored by the United La-bor Agency and the North Shore Federation of Labor. Card- carrying union members $7.

Walking on Water Tue/Aug 27, 1:45. Fri/Aug 30, 7:00. Directed by Andrey Paounov. This new documentary captures celebrat-ed installation artist Christo as

Mary Magdalene Rooney Mara reinvents the role

Working Woman Standing up against harassment

Guo-Qiang—from a child in Mao’s China to a global art super- star—and his quest to realize his most ambitious project yet, Sky Ladder. (USA, 2016, 76 min.) Screening courtesy of Netflix.

That Pärt Feeling: The Universe of Arvo Pärt Fri/Aug 23, 7:00. Directed by Paul Hegeman. The reclusive Estonian musician who is the most performed living composer is the subject of this new film. Cleveland premiere. (Netherlands, 2019, subtitles, 78 min.)

he realizes his latest large-scale project, The Floating Piers (2016), a pedestrian walkway (covered with yellow fabric) on top of Italy’s Lake Iseo. The piece was first conceived decades ago by the artist and his longtime part-ner Jeanne-Claude (1935–2009). (Italy/USA/Germany/UAE, 2018, subtitles, 100 min.)

Satan & Adam Unlikely jam

Pete Seeger: The Power of Song Bio of a banjo brandisher

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PERFORMANCES AND EVENTS

Special EventsMIX is for adults 18 and over. $10, $15 at the door. CMA members free.

MIX: Lagos Fri/Aug 2, 6:00, Ames Family Atrium. Celebrate the opening of Ámà: The Gathering Place, an immersive sound, tex-tile, and sculptural work created by Emeka Ogboh for the atrium. A sound artist, Ogboh describes the space as the heart and soul of the museum, a gathering place much like that of the ámà, or village square—the physical and cultural center of Igbo life in his native southeast Nigeria. Ogboh delivers an Afropop DJ set fea-turing the irresistible beat-heavy, electro hip-hop sounds of con-temporary Lagos, Nigeria, which have transformed pop music across the African continent and around the world. Gather, dance, and discover the global scope of the CMA.

Merce Cunningham Centennial Wed/Aug 7, 6:00. Join us for a collaboration with DANCE-Cleveland as we celebrate the artistic expression of legendary dancer/choreog-rapher Merce Cunningham (1919–2009) and his influence on culture. This lecture- performance features Malpaso Dance Company, the first Cuban company ever to be given a work by Cunningham, and a talk by Ken Tabachnick, executive director of the Merce Cunningham Trust. Free; ticket required (available starting Mon/Jul 15 at 9:00 a.m.).

Play at CMA Sun/Sep 15, 11:00–4:00. Monsters, aliens, and wonders! Enjoy art-making activ-ities, performances, and gallery games inspired by the Medieval Monsters exhibition. Bring your friends or family or come on your own. All ages are welcome to play and wonder. Free and open to the public.

Game Night Fri/Oct 18, 5:30–8:00. Gather and play! With Ámà: The Gathering Place by Emeka Ogboh as our backdrop, enjoy collaborative games, scavenger hunts, and creative challenges. You’ll need to work together with your friends or family to make the most of this fun evening. All ages are welcome. Free and open to the public.

City StagesThe CMA’s acclaimed summer concert series returns to Ohio City. Enjoy three concerts, where audiences of all ages can experi-ence global music and discover art in nearby exhibitions. For more information visit cma.org/citystages. Free; concerts begin at 7:30. Studio Go is on-site at 5:00 to host art activities.

Ohio City, W. 29th St. & Church Ave.

Wed/Jul 10 Tal National

Wed/Jul 24 Garifuna Collective

Wed/Jul 31 BKO

FILM If the Dancer Dances Sun/Aug 4, 1:30. Re-creation of RainForest, an iconic 1968 work by Merce Cunningham. See page 23.

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PHILANTHROPY NEWS

International Council of CollectorsThe newly formed International Council of Collectors held their first meeting in mid-May. This group will convene annually in Cleveland for an in-depth, curator-led exploration of specific areas of the collection. Discussions will include a review of conservation projects, major ac-quisitions, and collections-based initiatives. Here, curators Clarissa von Spee (left) and Emily Liebert (right) speak about their collections.

Shinto Opening DinnerOfficials from Japan helped celebrate the opening of the exhibition in April. The director’s exhibition dinner was generously sponsored by Dr. Hiroyuki Fujita, Honorary Consul General of Ja-pan in Cleveland, Mrs. Mikiko Fujita, and Quality Electrodynamics, with additional support by Kenzo Tsujimoto. The evening’s cele-brations included a performance by dancers from the Miyajidake Jinja, a Shinto shrine in Fukuoka, Kyushu. Below, Mr. and Mrs. Fujita receive a round of applause.

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GALLERY GAME

Emily Hirsch Kress Interpretive Fellow Vessela Kouzova Graphic Designer

Visit Medieval Monsters: Terrors, Aliens, Wonders and find these creatures.

Many medieval manuscript pages have decorative borders, known as marginalia, around the central text or images. Some include vegetation, people, and various creatures.

Stop by the information desk in the Ames Family Atrium to check your answers.

Decorative Borders

Members PartyOn May 11, members gathered together to celebrate our spring exhibitions and experience a live painting performance by contemporary artist Miwa Komatsu.

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Print Club 100th AnniversaryOn May 15, the Print Club of Cleveland, established in 1919, celebrated its centennial with a cake-cutting ceremony and the opening of A Lasting Impression: Gifts of the Print Club of Cleveland. The exhibition includes more than 70 works by masters such as Albrecht Dürer, Rembrandt van Rijn, Käthe Kollwitz, Pablo Picasso, and Jasper Johns, thematically tracing European printmaking over the course of six centuries. The exhibition is on view through September 22.

Periodicals

postage paid at

Cleveland, Ohio

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University Circle

Cleveland, Ohio 44106-1797

Dated Material—Do Not Delay

COVER Da Costa Hours (detail), c. 1515. Illuminated for Alvaro da Costa by Simon Bening (1483/84–1561) and workshop. Flan-ders, Ghent. Ink, tempera, and gold on vellum. The Morgan Library & Museum, New York, Purchased by Pierpont Morgan (1837–1913), 1910, MS M.399, fols. 271v–272r

GALLERY 236

Diversity and Innovation in Korean Literati Art Literati art refers to works created by educated elites who were adept in the arts of poetry and calligraphy. Such works were meant to be appreciated and circulat-ed only within privileged scholars’ circles. Toward the end of the 19th century in Korea, the societal divisions between classes became drastically blurred. This pro-vided lower-class professional artists the opportunity to interact with upper-class scholar-artists, and the former came to integrate into their work the language of literati art, such as calligraphic brushstrokes and monochrome ink.

On view beginning in July, an installation in the Korea Foundation Gallery (236) explores this exciting time in Korea when artists of different socioeconomic back-grounds exchanged ideas and styles. The selection of calligraphy and paintings by scholar-artists highlights the strong tradition of literati art, while the folding screens such as Birds and Flowers and Bamboos in Wind represent how professional artists integrated monochrome ink and calligraphic brushstrokes within their staple artistic languages—realism and draftsmanship.

New in the Galleries

Birds and Flowers early 1900s. Yang Gi-hun (1843–1919?). Korea, Joseon dynasty (1392–1910). Ten-panel folding screen; ink on paper; painting: 111.6 x 30.5 cm. Private collection

Gathering among the Members of Office Censor-General 1700s. Korea, Joseon dynasty (1392–1910). Hanging scroll; ink and light colors on paper; overall: 121 x 69 cm. Leonard C. Hanna Jr. Fund, 1997.147